For a show of just four paintings, Wendy White’s “Autokennel”—her first solo exhibition at this gallery—proved exceedingly ambitious despite its modest selection of large-scale offerings, each cobbled together from several panels. That a selection of artworks can make an implicit case for the virtues of editing might customarily go without mention, but it felt like an exceedingly rare and even quixotic thing in our bloated, garishly more-is-more (but still not enough) moment. And, anyhow, White’s work seems to be precisely about the gambit of expression—painterly and otherwise—as somehow disinhibited and formally structured. Indeed, each of her paintings employs a similar format that, paradoxically, allows for greater attention to the localized differences between them: Across multiple contiguous canvases, pieced together to both contain and abet sprawl, White goes to work with an admixture